Barren Ground — Key Ideas to Explore
Edition facts
The catalog record for Barren Ground — Key Ideas to Explore provides practical reading context through 157,660 words, 11 hr 26 min estimated reading time, and 13 detected text sections.
The text analysis averages about 16.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Pastoral fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Mill was as lonely as the abandoned fields by the track. From the bleak horizon, where the flatness created an illusion of immensity, the broomsedge was spreading in a smothered fire over the melancholy brown of the landscape. Under the falling snow, which melted as soon as it touched the earth, the colour was veiled and dim; but when the sky changed the broomsedge changed with it. On clear mornings the waste places were cinnamon-red in the sunshine. Beneath scudding clouds the plumes of the bent grasses faded to ivory. During the long spring rains, a film of yellow-green stole over the burned ground. At autumn sunsets, when the red light searched the country, the broomsedge caught fire from the afterglow and blazed out in a splendour of colour. Then the meeting of earth and sky dissolved in the flaming mist of the horizon.
At these quiet seasons, the dwellers near Pedlar's Mill felt scarcely more than a tremor on the surface of life. But on stormy days, when the wind plunged like a hawk from the swollen clouds, there was a quivering in the broomsedge, as if coveys of frightened partridges were flying from the pursuer. Then the quivering would become a ripple and the ripple would swell presently into rolling waves. The straw would darken as the gust swooped down, and brighten as it sped on to the shelter of scrub pine and sassafras bushes. And while the wind bewitched the solitude, a vague restlessness would stir in the hearts of living things on the farms, of men, women, and animals. "Broomsage ain't jest wild stuff. It's a kind of fate," old Matthew Fairlamb used to say.
Thirty years ago, modern methods of farming, even methods that were modern in the benighted eighteen-nineties, had not penetrated to this thinly settled part of Virginia. The soil, impoverished by the war and the tenant system which followed the war, was still drained of fertility for the sake of the poor crops it could yield. Spring after spring, the cultivated ground appeared to shrink into the "old fields," where scrub pine or oak succeeded broomsedge and sassafras as inevitably as autumn slipped into winter. Now and then a new start would be made. Some thrifty settler, a German Catholic, perhaps, who was trying his fortunes in a staunch Protestant community, would buy a mortgaged farm for a dollar an acre, and begin to experiment with suspicious, strange-smelling fertilizers. For a season or two his patch of ground would respond to the unusual treatment and grow green with promise. Then the forlorn roads, deep in mud, and the surrounding air of failure, which was as inescapable as a drought, combined with the cutworm, the locust, and the tobacco-fly, against the human invader; and where the brief harvest had been, the perpetual broomsedge would wave.
The tenant farmers, who had flocked after the ruin of war as buzzards after a carcass, had immediately picked the featureless landscape as clean as a skeleton. When the swarming was over only three of the larger farms at Pedlar's Mill remained undivided in the hands of their original owners. Though Queen Elizabeth County had never been one of the aristocratic regions of Virginia, it was settled by sturdy English yeomen, with a thin but lively sprinkling of the persecuted Protestants of other nations. Several of these superior pioneers brought blue blood in their veins, as well as the vigorous fear of God in their hearts; but the great number arrived, as they remained, "good people," a comprehensive term, which implies, to Virginians, the exact opposite of the phrase, "a good family." The good families of the state have preserved, among other things, custom, history, tradition, romantic fiction, and the Episcopal Church. The good people, according to the records of clergymen, which are the only surviving records, have preserved nothing except themselves. Ignored alike by history and fiction, they have their inconspicuous place in the social strata midway between the lower gentility and the upper class of "poor white," a position which encourages the useful rather than the ornamental public virtues.
Ellen Glasgow's Barren Ground is organized into three parts, each titled after a plant: Broomsedge, Pine, and Life-everlasting. This botanical structure mirrors the novel's attention to the Virginia Piedmont landscape, where the opening pages describe broomsedge as 'a kind of fate.' The narrative moves between the confined interiors of farmhouses and the expansive, desolate fields, creating a rhythm of withdrawal and return.
A Landscape in Motion
The novel opens with a girl in an orange-coloured shawl standing at a store window, watching snow fall on a deserted road. The description immediately establishes the broomsedge as a dynamic presence: it changes color with the sky, 'blazed out in a splendour of colour' at sunset, and on stormy days its quivering becomes 'rolling waves.' This is not a static backdrop but an active force that stirs 'a vague restlessness' in the hearts of living things. The narrator notes that the soil has been impoverished by war and tenant farming, yet the landscape is never merely bleak—it is charged with movement and transformation.
The Weight of Domestic Interiors
In contrast to the open fields, the farmhouse scenes are dense with physical detail and emotional weight. When Dorinda returns home, she finds her father paralyzed in bed, his face 'pulled out of shape by some sudden twist.' The room is flooded with morning sunlight, but the window looks out on a pear orchard and 'the crooked path to the graveyard.' Her father lies 'like a pine tree that has been torn up by the roots,' an image that ties human helplessness to the natural world. The dialogue is sparse and halting, punctuated by long silences and the father's wandering gaze toward a 'harp-shaped pine' outside the window.
Recurring Motifs: Broomsedge, Pine, and the Horizon
Three plant names structure the book, but they also recur as motifs within scenes. Broomsedge appears first as a visual phenomenon—'cinnamon-red,' 'ivory,' 'yellow-green'—and later as a metaphor for fate. Pine trees are associated with rootedness and decay: the father is compared to a uprooted pine, and a 'harp-shaped pine' stands as a silent witness. The horizon is repeatedly described as dissolving into 'flaming mist' or 'smothered fire,' blurring the boundary between earth and sky. These recurring images create a sensory continuity across the narrative, even when the plot moves between different times and places.
Movement Between Scenes: Arrested Flight and Return
The opening image of the girl at the window gives 'an impression of arrested flight, as if she were running toward life.' This tension between stasis and motion defines the novel's structure. Dorinda's return home is marked by a series of small movements: she stoops to caress a hound, pushes open a door, bends to kiss her father's forehead. The narrative shifts between her internal thoughts—'What was her pain compared to his monotony of toil?'—and external actions, such as telling him about lectures and books. The father's inability to move or speak contrasts with Dorinda's plans to 'make something of it yet,' suggesting a generational shift from resignation to active effort.
Readers attentive to the novel's structure will notice how Glasgow uses the landscape as both setting and symbol, weaving the plant names into the emotional fabric of the story. The movement between interior and exterior scenes, and between stillness and motion, rewards careful attention to recurring images and the pacing of dialogue. This edition preserves the original three-part division, inviting readers to observe how each section's title resonates with the events it contains.
I’ve often thought how Barren Ground keeps its broomsedge swaying through the seasons, as stubborn as memory itself. That quiet endurance reminded me of another old tale, The Great White Hand; Or, the Tiger of Cawnpore: A story of the Indian Mutiny — Text and Context, where the dust of another land holds its own patient grief. Both simply wait, like familiar spines on a shelf.
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